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양종근(Jongkeun Yang) 한국영미어문학회 2011 영미어문학 Vol.- No.100
The purpose of this paper is to trace Ernesto Laclau’s theory of ‘radical democracy.’ After the ‘Cold War’ the world is going straightly toward globalized capitalism, called New Liberalism. Under the global triumph of capitalism, democracy is on the skids, and freedom and equality is under threat. In the meanwhile, socialism is no longer accepted as an alternative social system of capitalism. It is this instance that Laclau intervenes in with his famous concepts such as ‘hegemony,’ ‘antagonism,’ and, ‘radical democracy.’ He attempts to deconstruct both Marxist theory and liberal democratic thought in order to reinterpret them in such a way that they could contribute to a more sufficient understanding of contemporary politics. On the one hand, he opposes persistently the global tendency toward capitalism. He also rejects the proletariat as a ‘universal’ class for the Revolution, on the other hand. In stead of the Marxist orthodox notions of class contradiction or class struggle, he introduces ‘antagonism(s)’ of the social. His ‘antagonism(s)’ reflects the over-determined social contradictions and various anti-capitalistic movements such as green, feminist, racial, local movements. He argues that ‘antagonism’ is constitutive of human society and that radical democracy is an effect(or a process) of its articulation. The model of radical democracy maintains the idea of an expanded version of democracy in more aspects of social life and of an attempt for constitution and multiplication of new identities.
양종근(JongKeun Yang) 한국영미어문학회 2016 영미어문학 Vol.- No.121
This paper scrutinizes the possibility and contemporariness of nationalist discourse even in the era of postmodernism. With the declaration of the end of modernity, nationalist discourse has been criticized as an old-fashioned discourse of modernity, especially from the perspective of post-colonialism. As one of the representative key words of post-colonialism, the term, ‘diaspora,’ has been effectively used to attack the exclusiveness and separatism of nationalist discourse. Within the anti-essentialist critique of modern, nationalist discourse, post-colonialists maintain that a nation is an imagined community which functions as a competitive and oppressive boundary within and among nations. For example, nationalism has constituted its identity emphasizing its regional and cultural homogeneity. In doing so, it excludes not only multi-cultural immigrants but also its diaspora. Nationalist discourse, however, still has a positive effectiveness, for the logic of global division of labor of capitalism penetrates from powerful western countries to poor non-western ones, and economic and cultural invasion and exploitation occur in the meanwhile. As David Huddart states, if “community has to be created and negotiated,” rather than denying nationalism as a regressive ideology, we should realistically appropriate nationalist discourse in accordance with economic, politic and cultural topography of the global era.
어머니를 기억하는 다른 방법 : 에이미 탄의 『접골사의 딸』과 차학경의 『딕테』
양종근(Jongkeun Yang),권응상(Uengsang Kwon) 한국영미어문학회 2021 영미어문학 Vol.- No.141
디아스포라 작가들에게 ‘어머니 기억하기’는 특별한 의미를 지닌다. 모국 혹은 모국어라는 말이 지칭하듯이 이들에게 어머니는 어머니가 살았던 이주 이전의 조국과 곧장 연결될 뿐만 아니라 가부장제 하에서 부계 혈통으로 이어지는 정체성에 대한 거부라는 상징성을 지니기도 한다. 디아스포라 작가들에게 어머니와 딸의 관계는 세대, 젠더, 인종, 문화 등 다층적인 함의를 지닌다고 볼 수 있는데, 본 논문에서는 에이미 탄(Amy Tan)의 『접골사의 딸』(The Bonesetter’s Daughter)과 차학경의 『딕테』(Dictee)를 통해 ‘어머니 기억하기’의 의미를 고찰하고자 한다. 두 작가는 어머니를 기록하기, 즉 어머니에 대한 ‘글쓰기’를 통해 역사 속에서 망각된 어머니의 서사를 복원하고 있다는 공통점이 있다. ‘하위 주체’(the subaltern)로서 역사적 과정에서 망각되고 소외된 이들 어머니들은 스스로 목소리를 낼 수 없는 존재들이다. 스스로 말할 수 없고, 목소리가 잘 들리지 않는 하위 주체인 어머니들의 이야기를 경청하고 기록함으로써 그들을 대변하고 그들의 존재성을 역사에 각인시키는 작업이 디아스포라 딸들에게 맡겨진 것인데, 이와 같은 작업은 역사의 공백과 불완전성을 메꾸는 의미있는 일이 될 것이다. Memorizing mother has unique meaning for diaspora writers in that mother not only links directly to their motherlands but also symbolizes the denial of their identities in the patriarchal tradition. This paper scrutinizes the meaning of “memorizing mother” through Amy Tan’s The Bonesetter s Daughter and Theresa Hak Kyung Cha’s Dictee. They record and restore the mother’s story that was forgotten in history, both national and patriarchal, through “writing” for their mothers. The lives of these mothers, who were forgotten and alienated in the historical process as “the subaltern,” are unable to speak for themselves. For those beings who cannot tell themselves, the task of imprinting their existence on history by listening to and recording their stories would be of importance to supplement an imperfection of history.